Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from San Marino and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1970.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
I'm losing my edge to the art-school Copenhagen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Jesper Dahlback to the jazz kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Sarah Menescal. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
The Dead C,
Steve Hackett,
The Star Department,
Deutsch Amerikanische Freundschaft,
EPMD,
Ajijia Myrayebe,
DJ Style,
Gil Scott-Heron & Brian Jackson,
Cheater Slicks,
Tropical Tobacco,
ABC,
Be Bop Deluxe,
The Detroit Cobras,
Aaron Thompson,
The Kinks,
Josef K,
Boredoms,
T. Rex,
The Zeros,
Saccharine Trust,
Big Daddy Kane,
Ken Boothe,
Roxy Music,
Whodini,
Dual Sessions,
Heaven 17,
Country Joe & The Fish,
The Motions,
Shuggie Otis,
Siglo XX,
Liliput,
Suicide,
Sixth Finger,
Man Eating Sloth,
The Fall,
The Slits,
Kevin Saunderson,
Alison Limerick,
Peter Gordon & Love of Life Orchestra,
Ultramagnetic MC's,
Wasted Youth,
Swell Maps,
Camouflage,
Agent Orange,
Technova,
Delon & Dalcan,
Henry Cow,
Ludus,
Sticky Fingaz feat. Raekwon,
Niagra,
Bob Dylan,
Funky Four + One,
The J.B.'s,
Barclay James Harvest,
World's Most,
Symarip,
Crime,
Skriet,
Magma, Magma, Magma, Magma.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.